Isasa & Córdoba release new album next May 21st

Listen to a first song in advance and pre-order on vinyl & digital now

Thanks to the encounter between two artists such as the Madrid-born -Uruguayan roots- Conrado Isasa (A room with a view), and the Madrid-born, Copenhagen-based Ignacio Córdoba (Fuego, MAGIA), the album you have in your hands captures a unique confluence of talent. An intersection that comes from distant orbits indeed, which nevertheless complement here in the form of a stunning musical body.

With four albums under his belt, the last one just released this very same year, and thanks to an abysmal sensitivity and an articulation of tonal discourse that is pure delicacy and simplicity, the passing of the years has given Isasa the key to his own space within the international instrumental guitar scene. He began some time ago to explore the intimate recesses of memory, up until revealing little by little, partially and carefully, in chiaroscuro, the refractory legacy of his own life and family experience. Isasa courageously lays it out before us, thereby achieving the most difficult thing: to turn his life into music, to touch the universal. On his side, coming from the punk scene in Madrid and with wide experience in the international experimental music and improvisation circuits, we could define Córdoba as a master of secular ceremonies: a body conductor of electricity -both alien and his own-, an eternal apprentice and a professional errorist whose ultimate goal is to detonate the comfort zones of any potential watertight musical discipline. Always, in order to transcend prejudices and expectations from a brand new, unexpected, changing and inclusive place, where the limits imposed by scholasticism will be blurred.

Recorded during Christmas, in the garage of Víctor Ávila’s (Escaire) house in Elche and without acoustic insulation or soundproofing of any kind, Isasa and Córdoba have delivered an album that steps into the frontier, that contradicts as well as alters anything preconceived to continually veer towards surprise. This album marks a milestone in the career of both of them, as well as being a liberated and unexpected gift that not even those closest to them could have ever imagined. Thank you.


Peña release new album on April 23rd

Pre-order ‘Carreiro’ on vinyl and digital now, and watch ‘Burato’

After releasing a beautiful EP called ‘Fórmula’ last year, Peña are back now with their first studio work entitled ‘Carreiro’. A surprising debut, not only in terms of transcending folk, but also in terms of contemporary music coming from Galicia.

Using their own roots as a point of departure, the band formed by Toño Magariños (diola, Unicornibot), Rubén Abad (Cro!, Trilitate) and Elena Vázquez (Trilitrate) has been able to weave together an exquisite body of songs, which combines simplicity with idiosyncrasy and formal bravery. For, in ‘Carreiro’, the subconscious pulse of popular music is represented to us in such amplified harmonies, that overflows our listening experience in extraordinary ways.

Welcomed with a wall of organs at the very opening of ‘Burato’, then we witness with emotion the harvest, whose liturgical description seems to fit perfectly with the metric of the song. But wait, the apparently heartwarming ‘Selva’ hides criticism of certain superficial eco-friendly statements, just as in the 5/4 of ‘GPS’ one could ask oneself if –Estamos ata os collóns de estar sempre conectadas, ou non? (…). One way or another, in the end, we are left with the feeling that love remains in each and every one of these songs, although ‘Bandeira’ is probably the one that defines the album better.

An album that works as a return to the present, as an hypnotic call home: a familiar space where images of our childhood are projected, although we discover in them some elements subtly rearranged now… not everything seems to be exactly where it was.


Les conches velasques release new album next March 5th

Pre-order ‘Celebración del trance profano’ on vinyl and digital now, and listen to the first single: Fluorescencia

Two years after its eponymous and revealing debut, Les conches velasques return now with this new collection of songs, such as an invitation to community interlacing, dancing on deuces and threes… entitled ‘Celebration of the profane trance’.

What began as Pablo Jiménez’s (Picore) personal project of exploration, has become a collective in which Jesús Landa, Thomas House (Sweet Williams, Charlottefield) and Sergio Segura participate (the latter has been also in charge of the recording, along with Cristean Barros). At the same time, the mudéjar rock from their first album crystallizes wonderfully now, here, in the form of popular music without a town, just contemporary and universal.

With repetition as method and celebration as goal, in this verbena we enjoy an inclusive songbook with the essence of Pedro Salinas and the poetics of Miguel Hernández, but there is more. At the same time, Les conches velasques are capable of integrating the works of -no less than- Nass el Ghiwane, Agapito Marazuela or Hamid Alemmou, all of whom blend into the mix organically, as if it was Les conches velasques own repertoire.

Now, the air with which the Zaragoza band officiates and the agility with which they perform, end up impregnating this ritual with a unique libertine spirit and street flavor. Surely this music is a proof about essentialism and eclecticism being not exclusive. On the contrary, here we can enjoy their complementarity in the form of a legacy, an electrified ancestor. Les conches velasques projects a recurrent yet hidden question against the wall of our consciences. One that applies to the collective imagination that reigns in our beloved Iberia:

Is this is Occident?


El relevo alemán: Additional notes when listening to La séptima extinción

An interview with El relevo alemán


How has the composition process of La séptima extinción been?

JC PEÑA -In fact there are some songs that came out right after we recorded the previous album, five years ago if I’m not mistaken. So, from then on, it’s been quite a long process.

CRISTINA ARROYO -Our former drummer, Zutoia, lives in Berlin and we used to take advantage of the moments when she comes. We recorded about five songs there, then we recorded another two and finished the process, if I remember correctly, last summer.

JC PEÑA -The main peculiarity of this record is that, due to circumstances, four drummers play there: Javier, who is our drummer now, Zutoia, who played with us for a long time, me, who recorded several songs of the album and well, Cristina, who made a percussion there. But that doesn’t take away any kind of coherence from the album, besides it ads a lot of grace to it because each drummer has his own personality.

JAVIER OTONES -I think that in the end what it gives is richness to the record. A whole album with the same person playing, at the end, has an own style that -no matter how dynamic the album is, no matter how dynamic the songs are- you don’t get if you put different people playing the same instrument in different songs. So, I believe it does contribute to it.

What are the songs of La séptima extinción like?

CRISTINA ARROYO -It is an album that I think reflects very well our live, our live concerts, and captures very well the spirit of the band.

JC PEÑA – I think that the songs are a compendium of what we have been doing since the first album, especially since the second one, because it is true that in the first one we were still there looking for a path, a little bit. I think that there are very dark songs. They’re very pop songs -it’s not mainstream of course-, but they are quite… In general I think that what we do is nothing experimental. There is enough melody, it is quite accessible within what we believe that a band of guitars should be, in which the electricity predominates and certain, or enough, forcefulness.

CRISTINA ARROYO – It does not have many artifices because we do not like them either and, as José Carlos said before, it has many edges.

What is the title of the album?

JC PEÑA – The title of the album is a macabre or gloomy joke, which is more macabre and gloomy considering all what we have experienced in recent months. The sixth extinction is supposed to be what is already causing human action in the world right now, in terms of mass extinction of species and such. Then the seventh would be our turn. It is a macabre joke that has been always in the tradition of the group, from the beginning.

What gear or technical configurations have you used to achieve such a sound?

JC PEÑA – Well, for us gear is very important, since the beginning, in large part due to Javier Ortiz and Estudios Brazil’s influence, because that’s where we saw and really appreciated the difference. Then, about guitars, I played basically with this Hiwatt here -it is a Hiwatt of the year 72- and with this Vox here, from year 65. With this, I basically recorded all guitars. It is true that we used in one or in a couple of songs a prehistoric amp: A Gibson from year 47 that I have home. It’s a combo and it also worked very well. About pedals. Actually I only use a Memory Man and some pedals, some fuzz Dwarfcraft that are quite martian and quite extreme. About drums we… if I’m not wrong… Well, the rest will talk about it, right? But as for drums, we recorded with a Premier Signia which Javi has there as well, although it’s not this one and, on the bass, we played with the usual Rickenbacker and an Ampeg B25, I think, which we’ve been recording with lately.

How was the recording of La séptima extinción?

JC PEÑA -We have recorded in Estudio Brazil, in Rivas, Madrid.

JAVIER OTONES – The truth is that I had never been recording in Brazil and the truth is that it was even more comfortable than I expected. Well, both Javi and his team made me feel super comfortable.

CRISTINA ARROYO -Once you’re there, everything goes a smoothly.

JC PEÑA – Because we have a good relationship with Javier Ortiz, who is the owner and the technician. Right now I think that we cannot conceive of El relevo alemán without the relationship that we have with Estudios Brazil and the sound that we have captured in the records. In fact, I can listen to the first album, the second one, and be just as happy as then and that, I believe, is thanks to Javi’s timeless approach to sound.

How do you recommend listening to La séptima extinción?

CRISTINA ARROYO – I think that in each listening, maybe, you can find a different dimension of the group and the sound, but I believe that, in general, the album is quite catchy and it captures quite faithfully what we do live.

JAVIER OTONES – I think it’s an album, knowing what El relevo alemán is about -as we’ve discussed on other occasions-, that is quite accessible.

JC PEÑA – I think it’s an album that has a lot of edges but is generally quite accessible. It has a lot of melodies and it’s true that it has a lot of electricity and a lot of force, otherwise it wouldn’t be us, but I think it’s actually quite melodic in a good way. Obviously we don’t do mainstream music, but I think it’s perfectly enjoyable for anyone who is interested in what alternative rock is, whatever you name it.

CRISTINA ARROYO -I recommend to lock yourself up at home and to enjoy the album at full volume please.

Tilde: Additional notes when listening to Algae

An interview with Tilde


How has the composition process of Algae been?

MATI PANDO – I usually take the ideas worked on in the form of lyrics and melody.

CARLOS SÁNCHEZ -Mati is not very fond of making choruses, so the discourse of the theme… You have to turn that idea, which was an incipient idea about a melody, into a song. Then you have to listen to a lot of what happens to know where you want to go, because you don’t have a chorus that says ‘OK, let’s go here’ and then the chorus ends I’m going to… No, it depends on what’s happening and it takes you to one place or another.

CARLA SUZART – Searching, experiencing, form, thing, sonorities, tonalities, rhythms and understanding, feeling, what was the best thing for this song. What it asks for.

MARIO VÉLEZ -On metrics we never worry about saying ‘come on, this song is going to be 3/4, this song is going to be 5/4’. No, we simply develop the song and what is best for it.

CARLA SUZART – I think the lyrics were directing us a little bit to explore different regions and different tonalities and different metrics. We tried different metrics within the same song and also on the record, in the overall picture there is a rhythmic diversity, a timbre diversity, a tonal diversity.

CARLOS SÁNCHEZ -The melody of all this is what drives us to make the songs. What often happens is that Mati is in a… he stays in a melodic motif and, meanwhile, the harmony moves. Therefore that melody works differently in one chord than in another. And this happens quite a lot on the record.

MATI PANDO -Harmonies are full of colour and full of nuances and full of… well… They take you to many places with harmonies.

CARLA SUZART – We tried and tried and tried every piece of the song, every part ‘And that, what do we do? Well we can change here because this calls for a change. The lyrics talk about that so we can make a turn here to get closer to what the lyrics say. How can we do that? Come on, an atmosphere more like this, more like that’. So it was a very detailed work.

CARLOS SÁNCHEZ – There are chords with tensions, quatrains, there are things… It’s not a group of… There are harmonic subtleties, let’s say. And also, another thing that I personally like about Tilde, is that there are also atmospheric moments that we could harmoniously call ‘manners’, which have colours. Technically speaking, I really like the Dorian mode which, well, is a minor but has a sixth major and that generates an atmosphere and some colours.

MATI PANDO – For me they are like a journey because they have like their landscapes, like colours. The harmonies give a lot of colours, a lot of richness there and also the stories are very intimate or very rooted. Very winged and very rooted.

What does the title of the album respond to?

MARIO VÉLEZ -The title of the album, ‘Algae’, basically is that in almost all our discography nature is quite inside and, in this album especially, the sea is quite present. So, among the elements of the sea we finally found ‘Algae’. The seaweed is a curious element since it seems something simple even that… it is not that it is despised but that it does not have much value and within the marine world it is fundamental.

MATI PANDO – This album has a lot of sea, the sea appears a lot in many songs on this album.

CARLA SUZART -The feeling that there is a lot of water was unanimous. The sea is very present there, very strong.

How were the recording and mixing?

CARLOS SÁNCHEZ – We were very clear that we wanted to record all of them together, live.

CARLA SUZART -We recorded at the Hukot Studio with Milo. Milo is a love, it’s been incredible for us to record. We went to the studio for a whole week.

CARLOS SÁNCHEZ -In this case the production starts in the studio.

CARLA SUZART -We had rehearsed so much, we had played so many songs that in one day we recorded them all, the bases.

MARIO VÉLEZ -It was recorded by Milo. It was mixed by Carles, the guitarist, who has a very clear idea of the sound the record needed.

CARLOS SÁNCHEZ – I ended up mixing it myself because I already came with that work done. I was very clear about how I wanted things to sound, which was how Tilde sounded.

How do you recommend listening to Algae?

MATI PANDO – I think that Tilde’s album should be listened to several times because it is an album that has many nuances, many details, a lot of dynamics.

CARLOS SÁNCHEZ -You need to listen to it several times and, for example, if you are prejudiced against flamenco sounds, maybe the first time you listen to it you don’t. But maybe you do fall in love after… it opens you up even to that kind of sonority.

CARLA SUZART – I think that there are multiple auditions of the album so that you can capture the sensitivity in the details.

CARLOS SÁNCHEZ – It’s great that it’s not accessible on the first listening because, at least for me, when a record enters my head, I usually burn it very quickly.

MARIO VÉLEZ – I think it’s an accessible record, within its limits. Man, you have to listen to it. They are long, dense songs, many changes, little chorus… but I believe that it is accessible because, as much the melodies of Mati as the harmonies of the guitar and the bass or the rhythms, let breathe much each part. It’s not that it’s crazy about changes, but each part has its own space and I think it’s quite well conducted and pleasant. It’s not super weird.

CARLOS SÁNCHEZ -In the end, yes. With the elements that you have, you do what you can do aspiring to the best, that’s how it’s been.

CARLA SUZART -I wish everyone an excellent listening.

El relevo alemán release new album next october 16th

Stream it from today, fully and exclusively, at our website!

El relevo alemán release their fifth album this next Friday 16th of October on vinyl and digital. Stream ‘La séptima extinción from today, fully and exclusively, at our website.

With more than a decade of career, many concerts, four EPs and five albums on their back, El relevo alemán has become one of the reference bands in the Iberian underground scene. Now Cristina Arroyo, JC Peña (Estoikov) and Javier Otones (Tremolino, Soul rubbers) stand before us with their best album to date. A title that, from the first play, opens up our imagination…

Someone said -The albums by El relevo alemán can only be recorded by Javier Ortiz (…). That’s right, once again Estudio Brazil have been able to capture the intact slap, the hard, sharp, and forceful crackle with which the Madrid trio stuns its fans’ hair on the front rows of their shows. Once again, it sounds nourishing. Just from the enigmatic title, song after song, this album is full of veiled references and inexhaustible material to be unraveled during a -comforting- active listening experience. In words of JC Peña -I’m less and less in favour of commenting on the lyrics, but I can tell you that this is the album I’m most proud of, there’s no doubt about that (…). All yours, enjoy.

Salva Alambre: Additional notes when listening to Electromagnetismo

An interview with Salva Alambre


¿De dónde surgen las canciones de ‘Electromagnetismo’?

Las canciones del disco surgieron a partir de un concierto que di en diciembre de 2018 y que consistió en bucles de sintetizadores analógicos y, partiendo de ahí, fui improvisando con más sintetizadores. Después del concierto me di cuenta de que a aquello se le podía dar forma y conseguir una estructura más de canción. Ese es el origen de las canciones. Me dediqué a ir perfeccionando las estructuras, a buscar los sonidos que quería, y ya me metí en el estudio a grabar.

¿Qué material has usado?

Para este disco he utilizado sobretodo sintetizadores analógicos. También hay sintetizadores digitales, algún sampler, alguna guitarra ocasional -aunque de manera muy secundaria, en comparación con el primer disco-, cajas de ruido, alguna batería y cosas de percusión.

Sobretodo he intentado utilizar bastante un micrófono electromagnético, que básicamente capta las ondas electromagnéticas. Capta señales de cualquier aparato que esté funcionando por allí, por el estudio, y eso lo utilicé como una amalgama, como un pegamento que aglutinase las distintas canciones. No aparece en todas pero sí en algunas, es un elemento que me ha gustado bastante utilizar.

¿Cómo son las canciones?

Las canciones de este disco son bastante distintas a las del primero porque son más oscuras, tanto en la propia configuración de las canciones, los sonidos, como también en las letras.

Con respecto al tipo de estructuras que aparecen en este disco, yo diría que hay de dos tipos. Por un lado están las estructuras más clásicas de pop con su estrofa, su estribillo, etc. Por otro lado están también otro tipo de estructuras que son más libres, donde van entrando y saliendo sobretodo sintetizadores o ritmos o bucles. Ahí lo importante es, sobretodo, la textura que se va creando con cada entrada y cada salida.

¿A qué responde el título del álbum?

Electromagnetismo, el título del disco, responde a una de las cuatro fuerzas de la física. El electromagnetismo está presente en todo. En la materia, en la luz, en el sonido, en la propia electricidad. Es algo que los humanos hemos aprendido a manejar, a intentar controlar, pero creo que todavía desconocemos muchísimo. Esa idea fue la que me interesó y me pareció bonita.

¿Hay algún concepto argumental?

Yo no me atrevería a decir que es un disco conceptual, porque suena como muy serio, pero sí que es cierto que el disco tiene una unidad. Las canciones se han ido construyendo a partir de la idea de electromagnetismo desde una u otra faceta, y la cara A y la cara B creo que tienen bastante que ver la una con la otra. Creo que el disco ha quedado bien articulado, ya es cuestión del oyente juzgar.

¿Cómo lo has grabado?

El disco se grabó en los estudios El Miradoor, entre febrero y marzo de 2019, siempre con Marco Velasco como productor, que es una persona con la que me entiendo muy bien y con la que me lo paso muy bien grabando. Fue muy divertido de grabar, había cosas que yo ya tenía muy claras y cosas que fuimos improvisando.

Una de las cosas quizás para mi más interesante en cuanto al sonido, es que los delays que utilizamos eran delays de cinta. Eso le da una calidez también al sonido analógico de los sintetizadores que es muy interesante.

¿Cómo recomiendas escuchar ‘Electromagnetismo’?

No creo que sea un disco demasiado fácil a la primera. Es un disco en el que, para entrar, hay que darle varias escuchas y a ser posible con un buen volumen y un buen equipo. Creo que hacerlo así vale la pena, porque vas entrando en la cantidad de sonidos o detalles. Algunas cosas no son obvias o no aparecen en una primera escucha, hay que ir dándole un poco más de espacio al disco.

Espero que disfrutéis escuchando el disco y que el electromagnetismo os acompañe.

Tilde release new album this Friday

Listen to it now and exclusively at our website!

Tilde release its third studio work, entitled ‘Algae’, this coming Friday 25 September on vinyl and digital. Now, from today you can listen to this album exclusively on our website!

Since Tilde formed in 2009 (with two EPs and two albums after that) Lluvi Farré, Mati Pando, Carlos Sánchez, Carla Suzart and Mario Vélez have defined a very idiosyncratic way of composing songs. This way comes to fruition in their gorgeous new studio release, ‘Algae’. Recorded live and without artifice, the Barcelona band manages to strike a difficult balance between subtlety and accuracy. Moving in countercurrent direction at all times, Tilde write up metrics and chronicles from the sidelines, drawing on song structures as unpredictable as they are rich in harmonies. These structures accommodate their very personal writing style, one which seems to be in constant search for disambiguation and which lays out a double figurative plane before our eyes. The album’s intimately reflective songs are projected onto this plane through a humble voice that is both conscious and flame-throwing.

If in ‘Animares’ (2017) we discovered a band that stood out for their bravery, in Algae Tilde have shown us their most lyrical and Andalusian side, while putting their finger on a sore spot of towering proportions. A mammoth-like effort that expands in multiple directions.

Salva Alambre’s new album is out tomorrow 4th of September

You can already listen to it entirely and exclusively on our website!

Salva Alambre releases his second studio work, entitled ‘Electromagnetismo’, tomorrow Friday 4th of September on both vinyl and digital formats. A day before, that means today, you can already have a listen to the whole album exclusively at our brand new website! Enjoy!

After his wonderful first solo effort ‘Matemática ingenua’ (2018) and the double single ‘Frenesí’ released not long ago, Salva Alambre is back with his second album. Although it cannot be considered a concept album as such, it does bring together a series of ideas about one of the four natural forces of physics in the known universe. Hence the title ‘Electromagnetismo’.

Alambre uses the concept of ‘Electromagnetismo’ as an intellectual pretext from which to delve into a series of songs that make up a prism of pop music. Indeed, it is through this prism that we can make out the said force and even theorize on the physical laws governing it, but, beyond all that, Alambre pulls us into a distorted and denatured musical universe of planes with dizzying angles for us to revel in. A maze of warped mirrors in which to get blissfully lost. What a triumph.